Saxophone Ensemble Concert Chapman Saxophone Ensemble

Total Page:16

File Type:pdf, Size:1020Kb

Load more

Chapman University Chapman University Digital Commons Printed Performance Programs (PDF Format) Music Performances 5-7-2007 Saxophone Ensemble Concert Chapman Saxophone Ensemble Dan St. Marseille Albert Alva Chapman University, [email protected] Follow this and additional works at: http://digitalcommons.chapman.edu/music_programs Recommended Citation Chapman Saxophone Ensemble; St. Marseille, Dan; and Alva, Albert, "Saxophone Ensemble Concert" (2007). Printed Performance Programs (PDF Format). Paper 1274. http://digitalcommons.chapman.edu/music_programs/1274 This Ensemble Performance is brought to you for free and open access by the Music Performances at Chapman University Digital Commons. It has been accepted for inclusion in Printed Performance Programs (PDF Format) by an authorized administrator of Chapman University Digital Commons. For more information, please contact [email protected]. Special Guests Jazz saxophonist/clarinetist and recording artist Dan St. Marseille plays in the CHAPMAN UNIVERSITY tradition of all the tenor legends. Employing a warm tone and melodic approach, he has won praise from jazz critics worldwide. Dan's recordings are School ofMusic heard internationally on jazz radio and have been the subject of articles in such publications as Downbeat, Jazztimes, Los Angeles Times, Japan's Jazz Critic magazine, among others. Three of St. Marseille's CD's received four- star ratings in the third edition of the All Music Guide To Jazz; The Experts Guide To The Best Jazz Recordings. presents a In addition to local and national tours, Dan has performed in Europe, Canada and many jazz clubs and festival including a headline performance at the prestigious Coleman Hawkins Festival in Topeka, Kansas. As a sideman and leader, he has recorded with Poncho Sanchez, Ron Eschete, Gary Foster and Saxophone Ensemble Concert his latest CD "Swinging With The Saint", featuring his clarinet is currently heard on over 250 radio jazz stations worldwide. Jazztimes said of the CD, "St. Marseille sounds like a natural, Gary Matsuura, director displaying breezy confidence and faultless phrasing". Dan's own composition "Claxography", written for renowned jazz photographer William Claxton, was chosen as the title of Claxton's new book of photographs. In May of 2001, Dan was the music director for an international event entitled "Clickin' With Clax" at the Los Angeles County Museum Of Art. With Special Guests In April of 1999, he was inducted into the Saddleback Valley School Districts Hall Of Fame, which included such other greats as golfer Mark O'Meara and soccer player Julie Foudy. Dan St. Marseille and Dan St. Marseille also is an educator, having presented workshops at major Colleges and Universities and he maintains a regular teaching studio in Albert Alva Southern California. Albert Alva is the director the Chapman University Big Band and Jazz Combo. After graduating Chaffey College, Mr. Alva attended the Los Angeles Jazz Workshop. He has toured with Rosemary Clooney, Ben Vereen, Leslie Uggams, Jerry Lewis, Michael Feinstein, Ann Hampton Calloway, and Ken Peplowski. He has also played in various bands backing such artists as Mel Torme, Joe Williams, Diane Schuur, Jack Jones, and the Captain & Tennile. Recording credits include Toni Tennile, Renee 0 lstead, Matt Catingub, and Rosemary Clooney's last two CD's (both Grammy nominated). Mr. Alva was musical director for the Pasadena Jazz Institute, and recently taught at the Excelsus Summer Music Camp for kids in Long Beach, CA. His proudest moments include working on music with jazz legend Benny May 7, 2007 • 8:00P.M. Carter. For over ten years now, he has served as librarian, copyist, arranger, Salmon Recital Hall and saxophonist for jazz drummer Louie Bellson. Program Two Part Invention in F Major J.S. Bach Prologue and Baroque Blue Victor Morosco (1685-1750) (b. 1936) edited by D. Combelle Andrew Perlitch, soprano saxophone Teren Shaffer, alto saxophone Duet No. 1 Bugs Bower Katie Coffman, tenor saxophone Jack Scholz, alto saxophone Patrick Shiroishi, baritone saxophone Gary Matsuura, alto saxophone Confirmation Charlie Parker Canon alla Ottava J.S. Bach (1920-1955) transcribed by Victor Morosco Andrew Perlitch, tenor saxophone Teren Shaffer, alto saxophone Gary Matsuura, tenor saxophone All the Things You Are Jerome Kem (1885-1945) "Presto" from String quartet Op. 18, No. 3Ludwig van Beethoven Special Guest: Dan St. Marseille, tenor saxophone (1770-1827) arr. by Larry Teal In a Mellow Tone Duke Ellington Patrick Shiroishi, alto saxophone I (1899-1974) Teren Shaffer, alto saxophone II Arranged by Albert Alva Andrew Perlitch, tenor saxophone Special Guest: Albert Alva, tenor saxophone Katie ,Coffman, baritone saxophone Gary Matsuura, alto saxophone Ronde des Princesses Igor Stravinsky Cherokee Ray Noble from the "FirebirdSuite" (1882-1971) Arranged by Albert Alva arr. William Schmidt Albert Alva, alto saxophone Teren Shaffer, soprano saxophone Dan St. Marseille, tenor saxophone Patrick Shiroishi, alto saxophone Andrew Perlitch, tenor saxophone Andrew Perlitch, tenor saxophone Gary Matsuura, alto saxophone Katie Coffman, baritone saxophone Rhythm Section: Josh Foy, piano • Mark Buchner, bass Bryston Ulrich, drums Bee's Knees Lennie Niehaus Teren Shaffer and Patrick Shiraishi, alto saxophone Andrew Perlitch, tenor saxophone Katie Coffman, baritone saxophone .
Recommended publications
  • Johnny Hodges: an Analysis and Study of His Improvisational Style Through Selected Transcriptions

    Johnny Hodges: an Analysis and Study of His Improvisational Style Through Selected Transcriptions

    HILL, AARON D., D.M.A. Johnny Hodges: An Analysis and Study of His Improvisational Style Through Selected Transcriptions. (2021) Directed by Dr. Steven Stusek. 82 pp This document investigates the improvisational style of Johnny Hodges based on improvised solos selected from a broad swath of his recording career. Hodges is widely considered one of the foundational voices of the alto saxophone, and yet there are no comprehensive studies of his style. This study includes the analysis of four solos recorded between 1928 and 1962 which have been divided into the categories of blues, swing, and ballads, and his harmonic, rhythmic, and affective tendencies will be discussed. Hodges’ harmonic approach regularly balanced diatonicism with the accentuation of locally significant non-diatonic tones, and his improvisations frequently relied on ornamentation of the melody. He demonstrated considerable rhythmic fluidity in terms of swing, polyrhythmic, and double time feel. The most individually identifiable quality of his style was his frequent and often exaggerated use of affectations, such as scoops, sighs, and glissandi. The resulting body of research highlights the identifiable characteristics of Hodges’ style, and it provides both musical and historical contributions to the scholarship. JOHNNY HODGES: AN ANALYSIS AND STUDY OF HIS IMPROVISATIONAL STYLE THROUGH SELECTED TRANSCRIPTIONS by Aaron D. Hill A Dissertation Submitted to The Faculty of the Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Greensboro 2021 Approved by __________________________________ Committee Chair 2 APPROVAL PAGE This dissertation written by AARON D. HILL has been approved by the following committee of the Faculty of The Graduate School at The University of North Carolina at Greensboro.
  • ELLINGTON '2000 - by Roger Boyes

    ELLINGTON '2000 - by Roger Boyes

    TH THE INTERNATIONAL BULLETIN22 year of publication OEMSDUKE ELLINGTON MUSIC SOCIETY | FOUNDER: BENNY AASLAND HONORARY MEMBER: FATHER JOHN GARCIA GENSEL As a DEMS member you'll get access from time to time to / jj£*V:Y WL uni < jue Duke material. Please bear in mind that such _ 2000_ 2 material is to be \ handled with care and common sense.lt " AUQUSl ^^ jj# nust: under no circumstances be used for commercial JUriG w «• ; j y i j p u r p o s e s . As a DEMS member please help see to that this Editor : Sjef Hoefsmit ; simple rule is we \&! : T NSSESgf followed. Thus will be able to continue Assisted by: Roger Boyes ^ fueur special offers lil^ W * - DEMS is a non-profit organization, depending on ' J voluntary offered assistance in time and material. ALL FOR THE L O V E D U K E !* O F Sponsors are welcomed. Address: Voort 18b, Meerle. Belgium - Telephone and Fax: +32 3 315 75 83 - E-mail: [email protected] LOS ANGELES ELLINGTON '2000 - By Roger Boyes The eighteenth international conference of the Kenny struck something of a sombre note, observing that Duke Ellington Study Group took place in the we’re all getting older, and urging on us the need for active effort Roosevelt Hotel, 7000 Hollywood Boulevard, Los to attract the younger recruits who will come after us. Angeles, from Wednesday to Sunday, 24-28 May This report isn't the place for pondering the future of either 2000. The Duke Ellington Society of Southern conferences or the wider activities of the Ellington Study Groups California were our hosts, and congratulations are due around the world.
  • John Cornelius Hodges “Johnny” “Rabbit”

    John Cornelius Hodges “Johnny” “Rabbit”

    1 The ALTOSAX and SOPRANOSAX of JOHN CORNELIUS HODGES “JOHNNY” “RABBIT” Solographers: Jan Evensmo & Ulf Renberg Last update: Aug. 1, 2014, June 5, 2021 2 Born: Cambridge, Massachusetts, July 25, 1906 Died: NYC. May 11, 1970 Introduction: When I joined the Oslo Jazz Circle back in 1950s, there were in fact only three altosaxophonists who really mattered: Benny Carter, Johnny Hodges and Charlie Parker (in alphabetical order). JH’s playing with Duke Ellington, as well as numerous swing recording sessions made an unforgettable impression on me and my friends. It is time to go through his works and organize a solography! Early history: Played drums and piano, then sax at the age of 14; through his sister, he got to know Sidney Bechet, who gave him lessons. He followed Bechet in Willie ‘The Lion’ Smith’s quartet at the Rhythm Club (ca. 1924), then played with Bechet at the Club Basha (1925). Continued to live in Boston during the mid -1920s, travelling to New York for week-end ‘gigs’. Played with Bobby Sawyer (ca. 1925) and Lloyd Scott (ca. 1926), then from late 1926 worked regularly with Chick webb at Paddock Club, Savoy Ballroom, etc. Briefly with Luckey Roberts’ orchestra, then joined Duke Ellington in May 1928. With Duke until March 1951 when formed own small band (ref. John Chilton). Message: No jazz topic has been studied by more people and more systematically than Duke Ellington. So much has been written, culminating with Luciano Massagli & Giovanni M. Volonte: “The New Desor – An updated edition of Duke Ellington’s Story on Records 1924 – 1974”.
  • Black, Brown and Beige

    Black, Brown and Beige

    Jazz Lines Publications Presents black, brown, and beige by duke ellington prepared for Publication by dylan canterbury, Rob DuBoff, and Jeffrey Sultanof complete full score jlp-7366 By Duke Ellington Copyright © 1946 (Renewed) by G. Schirmer, Inc. (ASCAP) International Copyright Secured. All Rights Reserved. Reprinted by Permission. Logos, Graphics, and Layout Copyright © 2017 The Jazz Lines Foundation Inc. Published by the Jazz Lines Foundation Inc., a not-for-profit jazz research organization dedicated to preserving and promoting America’s musical heritage. The Jazz Lines Foundation Inc. PO Box 1236 Saratoga Springs NY 12866 USA duke ellington series black, brown, and beige (1943) Biographies: Edward Kennedy ‘Duke’ Ellington influenced millions of people both around the world and at home. In his fifty-year career he played over 20,000 performances in Europe, Latin America, the Middle East as well as Asia. Simply put, Ellington transcends boundaries and fills the world with a treasure trove of music that renews itself through every generation of fans and music-lovers. His legacy continues to live onward and will endure for generations to come. Wynton Marsalis said it best when he said, “His music sounds like America.” Because of the unmatched artistic heights to which he soared, no one deserves the phrase “beyond category” more than Ellington, for it aptly describes his life as well. When asked what inspired him to write, Ellington replied, “My men and my race are the inspiration of my work. I try to catch the character and mood and feeling of my people.” Duke Ellington is best remembered for the over 3,000 songs that he composed during his lifetime.
  • Harry Allen Valerie Capers Linda May Han Oh Charnett Moffett

    Harry Allen Valerie Capers Linda May Han Oh Charnett Moffett

    202509_HH_July_0 6/24/19 12:27 PM Page 1 The only jazz magazine THE LATIN SIDE in NY in print, online and on apps! OF HOT HOUSE P31 July 2019 www.hothousejazz.com Jazz Forum Page 10 Village Vanguard Page 10 Charnett Moffett Linda May Han Oh Valerie Capers Harry Allen Jazz at Kitano Page 17 Zinc, 75 Club and 92Y Page 21 Where To Go & Who To See Since 1982 202509_HH_July_0 6/24/19 11:39 AM Page 2 2 202509_HH_July_0 6/24/19 11:39 AM Page 3 3 202509_HH_July_0 6/24/19 11:39 AM Page 4 4 202509_HH_July_0 6/24/19 11:39 AM Page 5 5 202509_HH_July_0 6/24/19 12:26 PM Page 6 6 202509_HH_July_0 6/24/19 11:39 AM Page 7 7 202509_HH_July_0 6/24/19 11:39 AM Page 8 8 202509_HH_July_0 6/24/19 11:39 AM Page 9 9 202509_HH_July_0 6/24/19 11:39 AM Page 10 WINNING SPINS By George Kanzler WO MUSICIANS KNOWN FOR under Charnett's chant of "Free the slaves, intrepidly anchoring vibrant rhythm let 'em go." Jana contributes one composi- sectionsT over the years explore other tion to the album, "Precious Air," a song aspects of their artistry on new albums. with her own lyrics, delivered in a breathy Both Charnett Moffett and Linda May Han voice and the musical textures of folk-rock. Oh are bassists and the principal com- Linda May Han Oh's Aventurine posers on their latest releases, but for the (Biophilia), is what was called third- first time, Charnett exclusively plays fret- stream music in the mid-20th century.
  • NSBA Convention Performances.Xlsx

    NSBA Convention Performances.Xlsx

    NSBA Performances 1 Title Composer/ Arranger Publisher Grade Performing Group Director(s) Year Fanfare for the Common Man Aaron Copland/arr. Robert Longfield 3 Bluffs Middle School 8th Grade Band (Scottsbluff) Michael Koch 2016 Whispers of the Wind David Shaffer 2.5 Bluffs Middle School 8th Grade Band (Scottsbluff) Michael Koch 2016 Freedom's Song James Curnow 1 Bluffs Middle School 8th Grade Band (Scottsbluff) Michael Koch 2016 March Grandioso Seitz/arr. Glover 3.5 Bluffs Middle School 8th Grade Band (Scottsbluff) Michael Koch 2016 Come Thou Found of Every Blessing Randall Standridge 3 Bluffs Middle School 8th Grade Band (Scottsbluff) Michael Koch 2016 Lake County Landscapes Robert Sheldon 3 Bluffs Middle School 8th Grade Band (Scottsbluff) Michael Koch 2016 The Haunted Carousel Erika Svanoe 3 Bluffs Middle School 8th Grade Band (Scottsbluff) Michael Koch 2016 Celebrata Ed Huckeby 2.5 Bluffs Middle School 8th Grade Band (Scottsbluff) Michael Koch 2016 Danza No. 2 Bruce Yurko 4 Lincoln East High School Wind Ensemble Tom Thorpe 2016 Funtango Chris Sharp 1 Lincoln East High School Wind Ensemble Tom Thorpe 2016 Be Thou My Vision Bryan Kidd 2 Lincoln East High School Wind Ensemble Tom Thorpe (Del Whitman - Conductor) 2016 Dancing at Stonehenge Anthony Suter 4 Lincoln East High School Wind Ensemble Tom Thorpe 2016 Steampunk Nolan Schmit 2.5 Lincoln East High School Wind Ensemble Tom Thorpe (Brian Vuu - Conductor) 2016 La Fiesta Mexicana (II. Mass) H. Owen Reed 6 Lincoln East High School Wind Ensemble Tom Thorpe 2016 See Rock City Brant Karrick 4.5 Lincoln East High School Wind Ensemble Tom Thorpe 2016 Gavorkna Fanfare Jack Stamp 5 Millard North Wind Symphony Ryan Placek & Craig Mathis 2016 Windjammer Millard North Wind Symphony 2016 Robert Buckley 3.5 Ryan Placek & Craig Mathis Nemesis Gary D.
  • Click to Download

    Click to Download

    Volume 8, Number 8 Original Music Soundtracks for Movies & Television Rock On! pg. 10 LOVE thEBOOB TUBE Cool new music for Alias, Boomtown, Monk, Carnivàle, Penn & Teller’s B.S. FSM picks 100+ great great TTV themes plus Indiana Jones JO JOhN WIllIAMs’’ FOR FORtuNE an and GlORY Dragonslayer on DVD WORKING WORKING WIth A AlEX NORth CD Reviews A ALL THE L LAtEST $4.95 U.S. • $5.95 Canada CONTENTS SEPTEMBER 2003 DEPARTMENTS COVER STORY 2 Editorial 20 We Love the Boob Tube The Man From F.S.M. Video store geeks shouldn’t have all the fun; that’s why we decided to gather the staff picks for our by-no- 4 News means-complete list of favorite TV themes. Music Swappers, the By the FSM staff Emmys and more. 5 Record Label 24 Still Kicking Round-up Think there’s no more good music being written for tele- What’s on the way. vision? Think again. We talk to five composers who are 5 Now Playing taking on tough deadlines and tight budgets, and still The Man in the hat. Movies and CDs in coming up with interesting scores. 12 release. By Jeff Bond 7 Upcoming Film Assignments 24 Alias Who’s writing what 25 Penn & Teller’s Bullshit! for whom. 8 The Shopping List 27 Malcolm in the Middle Recent releases worth a second look. 28 Carnivale & Monk 8 Pukas 29 Boomtown The Appleseed Saga, Part 1. FEATURES 9 Mail Bag The Last Bond 12 Fortune and Glory Letter Ever. The man in the hat is back—the Indiana Jones trilogy has been issued on DVD! To commemorate this event, we’re 24 The girl in the blue dress.
  • The Wisconsin-Texas Jazz Nexus Jazz Wisconsin-Texas the the Wisconsin-Texas Jazz Nexus Nexus Jazz Wisconsin-Texas the Dave Oliphant

    The Wisconsin-Texas Jazz Nexus Jazz Wisconsin-Texas the the Wisconsin-Texas Jazz Nexus Nexus Jazz Wisconsin-Texas the Dave Oliphant

    Oliphant: The Wisconsin Texas Jazz Nexus The Wisconsin-Texas Jazz Nexus Jazz Wisconsin-Texas The The Wisconsin-Texas Jazz Nexus Nexus Jazz Wisconsin-Texas The Dave Oliphant The institution of slavery had, of course, divided the nation, and Chicago. Texas blacks had earlier followed the cattle trails and on opposite sides in the Civil War were the states of Wis- north, but, in the 1920s, they also felt the magnetic pull of consin and Texas, both of which sent troops into the bloody, entertainment worlds in Kansas City and Chicago that catered decisive battle of Gettysburg. Little could the brave men of the to musicians who could perform the new music called jazz that Wisconsin 6th who defended or the determined Rebels of the had begun to crop up from New Jersey to Los Angeles, beholden Texas Regiments who assaulted Cemetery Ridge have suspected to but superseding the guitar-accompanied country blues and that, one day, musicians of their two states would join to pro- the repetitive piano rags. The first jazz recordings had begun to duce the harmonies of jazz that have depended so often on the appear in 1917, and, by 1923, classic jazz ensembles had begun blues form that was native to the Lone Star State yet was loved performing in Kansas City, Chicago, and New York, led by such and played by men from such Wisconsin towns and cities as seminal figures as Bennie Moten, King Oliver, Fletcher Jack Teagarden, courtesy of CLASSICS RECORDS. Teagarden, Jack Fox Lake, Madison, Milwaukee, Waukesha, Brillion, Monroe, Henderson, and Duke Ellington.
  • Jingle Bells Presents Recorded by the Duke Ellington Orchestra

    Jingle Bells Presents Recorded by the Duke Ellington Orchestra

    Jazz Lines Publications jingle bells Presents recorded by the duke ellington orchestra transcribed by dylan canterbury prepared for publication by rob duboff and jeffrey sultanof full score jlp-7393 Music By James Pierpont Copyright © 2015 The Jazz Lines Foundation, Inc. Logos, Graphics, and Layout Copyright © 2015 The Jazz Lines Foundation Inc. Published by the Jazz Lines Foundation Inc., a not-for-profit jazz research organization dedicated to preserving and promoting America’s musical heritage. The Jazz Lines Foundation Inc. PO Box 1236 Saratoga Springs NY 12866 USA duke ellington/billy strayhorn series jingle bells (1961) Biographies: Duke Ellington influenced millions of people both around the world and at home. In his fifty-year career, he played over 20,000 performances in Europe, Latin America, and the Middle East as well as Asia. Simply put, Ellington transcends boundaries and fills the world with a treasure trove of music that renews itself through every generation of fans and music-lovers. His legacy continues to live onward and will endure for generations to come. Wynton Marsalis said it best when he said, “His music sounds like America.” Because of the unmatched artistic heights to which he soared, no one deserves the phrase “beyond category” more than Ellington, for it aptly describes his life as well. When asked what inspired him to write, Ellington replied, “My men and my race are the inspiration of my work. I try to catch the character and mood and feeling of my people.” Duke Ellington is best remembered for the over 3,000 songs that he composed during his lifetime.
  • Title Arranger / Composer Arranger / Composer

    Title Arranger / Composer Arranger / Composer

    Title Arranger / Composer Arranger / Composer (Back Home Again In) Indiana FULL Big Band Barduhn+ (I Got You) Under My Skin FULL Big Band Vocal (I Love You) For Sentimental Reasons FULL Big Band Osser (Shes) Sexy + 17 FULL Big Band Lowden Stray Cats (Up A) Lazy River FULL Big Band Sy Zentner (Up A) Lazy River FULL Big Band (Vocal) Wess Bobby Darin 1237 On A Saturday Afternoon FULL Big Band Persons 2 At A Time FULL Big Band Persons 2 Bone BBQ FULL Big Band Cobine 20 Nickles FULL Big Band Beach 21st Century Schizoid Man FULL Big Band 23 Chuckles FULL Big Band Paul Clark 23 Red FULL Big Band Bill Chase Woody Herman Orchestra 23o N 82oW Full Big Band 25 Or 6 To 4 FULL Big Band Blair Chicago+ 25 Or 6 To 4 FULL Big Band Lamm Chicago 42nd Street Medley FULL Big Band Lowden 5 Foot 2 FULL Big Band (Trombone Feature) Amy 50's Medley FULL Big Band Unk 61st & Rich' It FULL Big Band Thad Jones+ 7 Come 11 FULL Big Band Henderson Benny Goodman 720 In The Books FULL Big Band Wolpe 720 In The Books FULL Big Band (Vocal) Mason 88 Basie Street Sammy Nestico 88 Basie Street Full Big Band Nestico 920 Special FULL Big Band Bunton 920 Special FULL Big Band Collins Count Basie+ 920 Special FULL Big Band Murphy A That's Freedom FULL Big Band Thad Jones A Beautiful Friendship FULL Big Band Nestico A Big Band Christmas FULL Big Band Strommen A Big Band Christmas II FULL Big Band Strommen A Brazilian Affair FULL Big Band Mintzer A Change Of Pace FULL Big Band Unk A Child Is Born FULL Big Band Thad Jones A Childrens Song FULL Big Band Mintzer A Cool Shade Of Blue
  • 2 Duke Ellington

    2 Duke Ellington

    2 DUKE ELLINGTON Lesson Ideas Younger Students • Discuss Duke Ellington’s childhood and young adulthood with the students. Ask each student to imagine himself or herself as Duke Ellington. Each student creates a comic strip about life as child or teenage Duke Ellington. Comic strips can incorporate factual and imagined storylines. Showcase the finished comic strips in the classroom or compile into a newspaper. Distribute a newspaper photocopy to each student. • Provide students with white card stock and markers so they can construct a one-octave piano keyboard (with eight keys). Make your own to provide an example or allow students to model theirs using the classroom’s piano. Instruct students to write an adjective describing Duke on each piano key, based on what they have learned in class, and to draw a picture to accompany each qualifier. Examples of adjectives include musical, charismatic, noble, graceful, inventive and stylish. Play some of Duke Ellington’s music in the background as students create their piano keyboards. Older Students • Divide students into groups to record a podcast about Duke Ellington. Designate students for specific tasks: • Scriptwriters to write the podcast script • Podcast host to read the main narrative • Recording engineer to tape the podcast • Actors to read pretend commercials or act as interviewees • Sound effects artist You can choose to do a live newscast format instead of a podcast format depending on available resources and number of students. Recording is optional. • Duke Ellington became popular during the Harlem Renaissance of the 1920s and 1930s. Langston Hughes, a prominent poet during the Harlem Renaissance, often wrote his poems while listening to jazz music at the local clubs.
  • Duke Ellington Birthday Celebration

    Duke Ellington Birthday Celebration

    JAZZ LAB BAND II PERSONNEL Saxophone Trombone Andy Page, alto Bif Reiser Kate Haller, alto Seth Arnold Zach Darf, tenor Daniel McIntyre Grant Caswell, tenor Jacob Rosevear, bass Brian Heater, baritone SCHOOL OF MUSIC AND DANCE Rhythm Section Trumpet Josh Wilson, guitar Aasen-Hull Hall Wednesday evening Ryan Lewis, lead Nathan Alef, piano 8:00 p.m. April 20, 2011 Casey Riley Corey Adkins, bass Sam Hunt Ben Hampton, drumset Sam Howden Susan Richardson, drumset THE FACULTY ARTIST SERIES presents OREGON JAZZ ENSEMBLE PERSONNEL Saxophone Trombone DUKE ELLINGTON Dan Meinhardt, alto Kyle Nystrom Eric Johnson, alto Evan Stewart BIRTHDAY CELEBRATION Sean Flannery, tenor Justin Williamson Tomas Webster, tenor Jojoe Nujoy, bass featuring Lauren Wagoner, baritone Rhythm Section JAZZ LAB BAND II Trumpet Eddie Bond, guitar Paul Krueger, director Nate Johnson, lead Torrey Newhart, piano Trevor Jones, lead Eli Copeland, bass UO JAZZ FACULTY COMBO Paul Krueger, jazz Paul Owen, drumset Carl Woideck, saxophone Morani Sanders Adam Carlson, drumset Idit Shner, saxophone Peter Brewer Steve Owen, saxophone Mike Denny guitar Tyler Abbot, bass Josh Hakanson, drums OREGON JAZZ ENSEMBLE Steve Owen, director * * * UNIVERSITY OF OREGON 111th Season, 82nd program O PROGRAM ABOUT TONIGHT’S ARTISTS JAZZ LAB BAND II Carl Woideck is an instructor of jazz, rock, and blues music histories at the University of Oregon, where he began teaching in 1982. He Oclopaca Duke Ellington holds a Master of Science degree (interdisciplinary: music, educa- tion, and ethnic studies) and a Bachelor of Music degree (composi- tion) from the University of Oregon. Woideck is also a professional Koko Duke Ellington saxophonist and longtime jazz radio broadcaster.